Take the Journey to the Australian International Documentary
Conference 2004

Journey to where the sand and sea meet for one of the largest
recurrent screen industry conferences in Australia - the 2004
Australian International Documentary Conference (AIDC).

The 9th AIDC - hosted by ScreenWest - will run for three
inspirational and stimulating days from 26-28 February 2004 at The
Esplanade Hotel in the picturesque port city of Fremantle.

AIDC is expected to attract more than 600 national and international
delegates who will traverse a very practical program covering topics
such as film content, craft, contemporary theory, technology,
marketplace demands and future directions in documentary production.
Program highlights include:

· Refugees in the World The numbers grow each year, governments make
it harder for the refugee, and film makers to keep telling stories of
the individual who is the person behind the name - refugee. Do their
films make any difference?

· Documentaries - What's New? Are audiences really watching the same
TV show for 20 years? Has anything really changed in the TV guide
between 1984 and 2004? Is Steve Irwin a recycled Harry Butler?

· Different Ways of Measuring A single documentary can alter a
person's life forever. How do you measure that? A look at the impact
of some documentary programs on people's lives.

I am looking to hire an excellent, fast, totally competent person
(based in NYC ideally) to do archival clearance work (and some
archival research) starting ASAP and finishing in mid-January for
a Sundance bound feature documentary film. It involves
negotiating a good licensing rate, getting the masters and then
starting the process for clearance for misc. footage from the 60's
through last winter and newspaper clippings. It would be great if
this person had some connections at CBS/BBC, CNN, Chicago
Tribune, and ABC as well. Please email me ASAP your resume,
availability, references and day/week rate:dallas@bigmouthproductions.com

"Docs in Thessaloniki" gives the independent producer a unique chance
of presenting a project internationally, to meet colleagues and create
alliances for future cooperation in Europe. Pitch your project to a
wide range of com. editors from different European TV-stations.

Organized by EDN, European Documentary Network in collaboration with
the "Thessaloniki Documentary Festival-Images of the 21st Century"(1-7
March), which includes a national & international program as well as a
doc market and parallel events. The participants of the Pitching Forum
will also have access to the festival.

European producers are invited to apply for participation in the
documentary pitching forum that consists of 5 days intensive training
and information:

Day 1: A general overview of the market situation for documentaries
in Western Europe.

Day 2 & 3: Group work, where the producers meet with international
experts and colleagues, who help them improve and target their
projects to the international market. Pitching training.

Day 4 & 5: Pitching to a panel of European commissioning editors from
different European countries. During the two mornings the projects are
pitched in public to the panelists with individual meetings in the
afternoons.

To apply the producers must send in - in English - a two page
description of their documentary project containing the following
elements:

MY KNEES WERE JUMPING; REMEMBERING THE
KINDERTRANSPORTS has just been released on dvd by IFC
and copies can be bought through Amazon.com

Melissa Hacker's documentary, My Knees Were Jumping:
Remembering the Kindertransports, is about the Jewish
children who were saved by emigrating to Britain (from Germany,
Austria, Poland and Czechoslovakia) 60 years ago. Since Ms.
Hacker is the daughter of one such emigre -- the costume
designer Ruth Morley, an Academy Award nominee for "The
Miracle Worker" -- she approaches her poignant subject matter
in a particularly earnest, intimate way. In this gentle
documentary, Ms. Hacker's mother and others who shared the
young refugees' experience speak at length about its impact...
-- Janet Maslin, The New York Times

Surviving participants vividly recall the excitement and the
downside of this "adventure".....These stories are
heart-rending....Editing weaves together talking-head interviews,
newsreel footage, old photos and other material to sketch
far-reaching psychological and historical reverberations. Tech
package is crisp and pro....
-- Dennis Harvey, Weekly Variety

Melissa Hacker's My Knees Were Jumping: Remembering the
Kindertransports narrates the trauma of history as a tragedy of
generational loss....Narration by Joanne Woodward is intercut
with Hacker's own personal reflections on the impact of the
Kindertransports on her mother and family....the film is not just
about her specific story; it is also about family and the legacy of
experience in the broadest sense.
-- Yosha Goldstein, Filmmaker Magazine feature
(Special Sundance issue)

MY KNEES WERE JUMPING was screened at the Sundance
Film Festival and many international film festivals, on PBS, on
Channel 4 in Britain, and named an "Outstanding Documentary"
by the Academy of Motion Picture Arts & Sciences.

Congratulations, Melissa! I'll buy your DVD as soon as I buy a DVD
player (which I need to do anyway, being a proud owner of the Stone
Reader Limited Edition and Keith Richards & X-pensive Winos DVDs). :-)

A&E is looking for New York-based International Masters Post-
Production Coordinator.

PRIMARY DUTIES

o Monitor edit sessions and format producers, and backup format
producer functions as needed to ensure that project assignment and
execution is followed according to schedule/specifications.
o Acquire missing materials needed in the mastering process by
working with the domestic Library Services department. Determine the
technical specifications required for edit (such as textless
backgrounds and audio tracks).
o Schedule and track all International masters and submasters through
a timely revision process. Analyze all rejected masters, make
recommendations for alternative solutions. Screen all rejections and
source materials, acquire alternate material from supplier and
implement new edit process.
o Provide support, as needed to the Managing Producer -
International, in all post production activities, including screening
final masters following the edit process and prioritizing the edit
schedule, recommending and making revisions according to the needs of
the department.
o Monitor the program packaging elements to insure timely repackaging
of all materials as new elements are introduced. Disseminate new
materials to ventures, manage the revision process of out-dated
masters and maintain control of our assets. Review catalog for given
series and make sure all versions are most up-to-date.

Job Listing: Documentary film with national theatrical release seeks
Assistant to Outreach Director.

Skills required: Excellent internet research skills, telephone and
written communication including email and business letters. Must be
organized, reliable and self directed. Position requires excel
spreadsheet fluency. Interest and knowledge of rafting, outdoor
sports and environmental issues helpful, but not necessary.
Experience in outreach, grassroots organization and film
distribution, a plus.

InterPositive Media, LLC is looking for experienced doc editors who know
Final Cut Pro. We produce socially conscious video on all scales, from PSA's
shot on 35mm to a series of 4 videos, shot on MiniDV, that we're doing about
Intimate Partner Violence for the CDC. We have drives and software, but you
must have your own Mac to work on, experience in the genre, and love for the
work. Please don't call but do send a reel and resumé to: InterPositive Media,
LLC, 96 Avenue C, 3rd floor, 10009. Thanks!

The Association of Independent Video and Filmmakers
(AIVF) is a 30-year-old national trade association based in New York City,
providing support to individual media artists and producers.
As the primary spokesperson for the organization, the Executive Director
must have a keen understanding of and a
passion for the media arts and be able to act as a leading advocate
for the role of independent media in the 21st Century.

Responsibilities include: fund development, staff and
operations management, community relations, programming,
marketing and strategic planning. The Executive Director also
serves as publisher of The Independent Film & Video Monthly.

THE FIRST 24 HOURS, by the same filmmaker.
The film takes a haunting tour of the WTC following the attacks. Lower
Manhattan, the worlds dominant financial center is transformed in an
eerie ghost town.
Official Selection : Sundance / Double Take / Manchester
&
IMAGINE, a cine-poem, made in 1986, by Academy Award-winning director
Zbigniew Rybczynski, set to John Lennons eponymous musical sco

The Digital Clubhouse Network in New York City runs a program in
which a small group of teenagers (aged 12-17) create a 3-5 minute
video about an important event that happened either to them or
someone they're close to.

We are seeking volunteer Mentors to work with students on their
projects. Over a 12 week period mentors help the students as they
write a story, construct a storyboard and then edit narration and
imagery to produce the final piece. The students work on Macintosh
iMac computers using Microsoft Word for scripting and storyboarding,
Adobe Photoshop for image scanning and manipulation, and Adobe
Premiere for video editing.

Mentors work one-on-one and in small groups with the students on
Saturdays and/or a weekday afternoon. Ideally we'd like people
available for the entire 12 week cycle. However, if you can only come
in a few times we can still use your help.

The next cycle will begin March 20th and another on April 17th. I'm
responsible for recruiting mentors so if you're interested please
email me at pzoglin@bmcc.cuny.edu. You can find out more about the
Digital Clubhouse Network on their website at www.digiclubnyc.org

I, Greet Pauwels, am a communications science student at the
University of Brussels. For my dissertation I am conducting a study
concerning the E.U.s MEDIA Plus program and in particular the
financial support it provides for the development phase in the
production of documentaries.

For this I am looking for people who work in the field of documentary
to fill in a questionnaire concerning both the financing of
documentaries in general as well as the financial development support
provided by MEDIA Plus. But you don't necessarily need any experience
with this program to fill in the questionnaire. Even if you or your
company do not meet up to the conditions laid down by the E.U. as so
that you cannot apply for the program, your input would still be very
welcome. The only requirement for taking part in this study is that
you have to work in the field of documentary.

It is made up out of three parts but it should only take up a small
amount of your time to fill this in and your effort would be more
than appreciated.

Important note: All of the questions, unless when specified
otherwise, only concern documentary projects and the work you do in
the documentary field. Please take this into account when answering
the questions.

The final results of my research will be put to the disposition of
the European Documentary Network so my work will also serve a
practical goal. My father, Paul Pauwels from Periscope Productions
and former president of EDN, started a survey last year concerning
the same subject and my research is actually meant to be a more
complete version of it.

There have been some compatibility problems with some people who use
Macs but for them there is now a text version available which you can
dowload to your computer and then email to me. You can find this text
version at the same adres as the on-line questionaire.

In case of any further problems with the questionnaire, please
contact me immediately.

I will do so. :)
It took a few minuts for the name - joke to sink in :p

Non-European D-workers are also welcome to fill in the questionnaire.
Even though they'll obviously have little to say about MEDIA Plus,
there are still two other parts in the questionnaire (general
information and financing) which apply to everyone.

Tuesday, March 16th
THE NEW YORK DOCUMENTARY CENTER*S "DOCSHOP"
THE PIONEER THEATER
155 E 3rd Street (at Avenue A)
New York City
212.254.3300
www.docfest.org/docshop.html
PIZZA & BEER Reception at 7:00 PM
Screening and Discussion with the Filmmaker at 8:00pm
To reserve tickets, please call 212.668.1575.
Reservations must be made by 5:00 PM on Monday, March 15th.
Reserved tickets must be claimed by 7:30 PM on the night of the screening.

Sunday, March 21, 1:00 pm
HARLEM FILM FESTIVAL presents:
CREATIVELY SPEAKING 2004
Aaron Davis Hall
City College of New York
between West 133rd and 135th Streets on Convent Avenue
To reserve tickets, please call 212-650-7100
For more information, www.aarondavishall.org/ecards/04ff/ecard2.htm

EVERY CHILD IS BORN A POET: THE LIFE & WORK OF PIRI THOMAS

synopsis

An incendiary mix of documentary, poetry, and storytelling, Every Child is Born a Poet
explores the life and work of Piri Thomas, the Afro-Cuban-Puerto Rican author of the
classic autobiographical novel Down These Mean Streets (1967). The film traces
Thomas* path from childhood to manhood in New York City*s Spanish Harlem, El
Barrio, from the 1930's through the 1960*s - his parents* immigrant experience,
home life during the Great Depression, membership in barrio youth gangs, his
struggle to come to terms with his mixed-racial identity, travels as a teen-age
merchant marine, his heroin addiction, his notorious armed robbery of a Greenwich
Village nightclub, his six years spent in prison, and his emergence as a writer.
Thomas* coming-of-age story is counter-pointed with dramatizations, spoken word
poetry performance sequences, and verité scenes of his on-going work of forty-five
years as an educator and activist empowering marginalized and incarcerated youths.
A stylized, genre-spanning production, Every Child is Born a Poet includes a
spellbinding collage of rare archival film footage, still photographs and provocative
mixed-media artwork, as it examines Thomas* use of creative expression as a means
of confronting poverty, racism, violence and isolation. Pulsating with an original Latin
Jazz score, Every Child is Born a Poet is a riveting portrait of a life lived through
struggle, self-discovery, and transformation.

* Winner of the OPERA PRIMA AWARD at the
LOS ANGELES LATINO INTERNATIONAL FILM FESTIVAL 2003

* Awarded HONORABLE MENTION in the DOCUMENTARY COMPETITION at the
URBANWORLD FILM FESTIVAL 2003

This is a radio job, but might be of interest to some D-Worders who
also have radio experience. Even if you are not interested in the
job, they also accept freelance program submissions. Check out their
website for guidelines.

********************************
The National Radio Project (NRP), producer of the weekly show Making
Contact, seeks a highly motivated individual with strong radio
production and journalism skills to join our team as a full-time
Associate Producer.

NRP, a 10-year old, non-profit, independent media group, is
committed to high quality reporting on critical issues while
highlighting voices, perspectives, and solutions not often heard in
mass media. Making Contact is currently aired by 160 radio stations
in the U.S., Canada, South Africa, and Indonesia. For more
information, please our website at radioproject.org.

The Associate Producer reports to and works directly with the
National Radio Project's Director of Production and Training. This
is a detail-oriented job that requires both strong radio production
skills and administrative skills. The Associate Producers primary
responsibility is to mix and package the Making Contact weekly show.

Working with the Director of Production and Training in the framing
and coordination of Making Contact shows.

Assist the Director of Production and Training in the supervision and
development of interns and volunteers.

Qualifications:

* At least two-years experience working in the field of radio
journalism
* Able to work under deadline pressure
* Excellent writing, interviewing, and oral communication skills
* Solid computer and digital audio editing skills
* Strong analysis of policy and current affairs

Considered a plus:

* Ability to speak languages in addition to English
* Familiarity with community-based organizations